Week 2 -3 - Analysing Chris Ware's work - note taking
- How and why the artist became successful?
- what influences the artist shows or has declared to be an influence
- the major sources of the artists income - the core audience their clients
- any ethical or philosophical standpoint that artist demonstrates
- any controversial aspects of the artists work
 |
| monkey and parrot narrative - my own raccord influenced by chris ware formatting |
Chris Ware
Chris Ware (1967-present) is a successful American graphic
novelist. His awards have included “Man’s First Genuine Successor” and Time
magazine’s “Book of the Year”. The success
of his main works, Jimmy Corrigan: The Smallest Kid on Earth (2000) and
Building Stories (2012) has come through his ability to communicate with his
audience on an emotional level. (1)
In Quimby the Mouse, the narrative dealing with treatment of
Sparky and his regret for his cruelty shows a link between Gasoline Alley and
flat panels (3). You can see his
drawings are line filled and incorporate a linear perspective that is flattened
or exchanged with panoptical projection.
Not only does Ware use these techniques he reduces the panels or objects
to geometric shapes.
Image 3 -Ware’s Work- Quimby the Mouse (see Theory Artists Image Page)
Jimmy Corrigan was influenced by Ware’s childhood. Charles
Schulz’s Peanuts showed Ware that one could empathise with cartoon characters: (2)
when Charlie Brown feels bad for himself, you feel bad for him. Schulz portrays his emotions through the
character and page layout. In Jimmy Corrigan, Ware uses an interlocked
narrative of two father- son relationships, incorporating regret and
abandonment in his attempt to understand his own relationship with his absent
father. Ware’s use of memoir and personal history grips the reader. (1)
A further influence was Frank King, whose layout of Gasoline
Alley had a “raccord” format giving a 5 second time frame to the linear
sequence of the same scene. Ware used time by putting a monthly timeframe to
the sequence and formatting the panels in a panoptical diagrammatical method (2)
(images 1 and 2). Ware uses time and
memory in his work as two key methods of creating dynamic and emotion. Raeburn
said “Gasoline Alley taught Ware that the feeling of a comic strip was best
built into its structure” and “musical emotion need not be expressed through
performance but through composition.” (3) Ware incorporates this cyclosis into
practice via “Building Stories” by presenting Joseph Cornell’s surrealist
boxes. Ware sees literacy and visuals as
two distinct aspects of his work and changes his adjectives and adverbs into a
visual story. (4)
Images one -Ware’s work – building stories
Florist and husband dealing with her father’s decline over
several months.(see Theory Artists Image Page)
Rudolphe Topher, father of the comic strip, influences Ware
by his use of broken lines, figures in scattered hyperactivity and ironic
phrases. Richard Felton Outcault , the father
of American Sunday comics, created the comic strip that merged into American
society’s day to day living. (6)
Doug Wolk, art critic and historian, dislikes Ware’s use of
traumatic experiences within family units, regarding them as “pathetic fantasies
and painful realities”. He contends that the composition and geometric forms
challenge the face of human despair and cruelty. (1)
Bibliography of Chris Ware
Cartwright James,
“Illustration: Valuable life lessons in Chris Ware’s seminal Quimby
comic” available at http://www.itsnicethat.com/articles/chris-ware-quimby-mouse
(Accessed: 5 October 2014)
Cliffnotes, Houghtern Mifflin Harcourt “Of Mice and
Men by John Steinbeck” available at http://www.cliffsnotes.com/literature/o/of-mice-and-men/of-mice-and-men-at-a-glance
(Accessed: 5 October 2014)
Cushner Seth (2012) “Chris
Ware building a better comic book”
available at
http://www.nycgraphicnovelists.com/2012/03/chris-ware-on-building-better-comic.html
( Accessed: 5 October 2014)
Herge, the adventure of tin tin “Herge” available at http://us.tintin.com/about/herge/
(Accessed: 5 October 2014)
Kelly Stuart (2013) “Chris
Ware: 'There is a magic when you read an image that moves in your mind'
available at http://www.theguardian.com/books/2013/oct/11/chris-ware-graphic-novelist-interview (Accessed 5 october 2014)
Kreilkamp Ivan Associate Professor in the
Department of English at Indiana University (2013) “The not –so-comic art of
Chris Ware” the Ryder, available at http://theryder.com/2013/11/15/the-not-so-comic-art-of-chris-ware/
(Accessed: 5 October 2014)
Kunzle David “A
critical study of the Swiss artist who created the comic strip” available at http://www.upress.state.ms.us/books/869 (Accessed:
5 October 2014)
Larimer Kevin “The Color
and the Shape of Memory: An Interview With Chris Ware available at http://www.pw.org/content/the_color_and_the_shape_of_memory_an_interview_with_chris_ware
(Accesed: 5 October 2014)
Olson. D. Richard “R. F. Outcault, The
Father of the American Sunday Comics, and the Truth About the Creation of the
Yellow Kid” available at http://www.neponset.com/yellowkid/history.htm (Accessed: 5 October 2014)
Raeburn Daniel (2004) Chris Ware, Pg 25 (Accessed: 5
October 2014)
Schulz. M Charles Schulz Museum “Charles M Shulz
Biography” available at https://schulzmuseum.org/about-the-man/schulz-biography/
(Accessed: 5 October 2014)
Images (see images on theory artist image page)
Image 1 – Douglad Wolk, “Inside the box
“building stories” by Chris Ware”, available http://www.nytimes.com/2012/10/21/books/review/building-stories-by-chris-ware.html? (Accessed 5 October 2014)
Image 2 -walt and skeezix, “Frank o
King”, available at http://www.du9.org/auteur/king-frank-o/ (Accessed 5 October
2014)
Image 3- Raeburn Daniel,
Chris Ware,Pg 25 (Accessed: 5 October 2014)
Footnotes
(1) kreilkamp
(2) Kelly, 2013
(3) Raeburn
(4) Larimer
(5) Cliffnotes
(6) Olson
Week 4 - researching Shaun Tann - Australian illustrator
Week 4 - researching Shaun Tann - Australian illustrator
Shaun Tann
Tann is an Australian artist who has become widely
successful all over the world. His main focus is picture books that not only
attract children but a sophisticated intellectual audience. His non – didactic
humour helps his work cross the border between age groups reading his “silent graphic
narratives” (1). Inviting themes such as migration, emigration, colonisation,
environmental and isolation bring people together on an international scale to easily
relate to his work which, according to Dophne “reflects on the notion of
belonging and comments on the effects and consequences of exile” (1). In 2006, Tann’s
The Arrival won the “Book of the Year prize” as part of the New South Wales
Premieres literacy awards.
Tann began by producing work for magazines and newspapers at
university and working alongside Gary Crew, a picture book artist who shared
Tann’s view that picture books can be versatile and suitable for academic
analysis. The techniques Tann developed through these small jobs have brought
him to his outstanding success of silent graphic narratives (2).
Tann grew up in Australia but is of mixed Chinese, Malaysian,
English and Irish mixed heritage, and this background gives his work
multicultural influences. Tann’s work has often been a response, emotionally
and visually, to his experience of childhood as an outsider in suburban Perth,
Western Australia. This has caused him to be attracted to ideas of belonging,
difference and the boundaries between what is familiar or “normal” and what is
other or strange. As a child his mother used to read him Animal
Farm by George Orwell and Tann himself has noted an Orwellian feel to his first
picture book, The Rabbit. Tann’s well-known subject matter of monsters, robots
or industrial creatures relates to his sense of the fragility of his
surroundings. Similarly, the cities he creates arise out of nowhere and are surrounded
by wasteland (2), which Tann himself has linked to his growing up in Perth, a
city which he considers ‘peripheral’ and ‘a new city with no history’,
‘isolated between desert and ocean’ (2).
Tann disseminates his work by exhibiting small works in
galleries such as Books Illustrated in Melbourne and Illustration Cupboard in
London. He also sells limited edition prints of The Red Tree, The Lost Thing,
The Rabbits and The Arrival on archival watercolour paper. His preferred method
of dissemination, however, is through bookstores across the US, England and
Australia. (2)
Tann shows philosophical influences in his work with regard
to by evoking universal aspects of an immigrant’s experience by mesmerizing
images. The Arrival (Image 2, see Theory Artists image page) features crossover text where the protagonist is
torn between cultures and locations experiencing unsettlement and social realities
(1), through this narrative Tann shows us that visual images can help
communication and overcome boundaries. We don’t need to rely purely on language
for communication (3).
Drawing has allowed Tann to represent things without words
that have been seen to be more accurate via semiotics “explore contrary
possibilities of meaning making and meaningless in postmodern culture” says
Lawrence R Snipe about Tanns picture books (4). However even adding a title to
his work could form a boundary. Another controversial aspect of Tann’s work is
his themes. Migration and colonisation
shown in The Rabbits was attacked by right wing conservatives for being
“politically current propaganda” after named picture book of the Year by Children’s
Book Council (5).
Tann conveys his work in many ways by juxtaposing images and
words, which creates gaps for the reader to bridge. From clever use of
communication, he removes referencing and muddles characteristics from elements
in his images to balance ambiguity and weirdness but still keeping it specific.
For example the red flag (Image 1, see Theory Artists image page) is referenced from the Union Jack but Tann
changes the flag and gives a hint of resonance to the viewer for open interpretation.
Shaun Tann
bibliography
Dophne Christophe (2012),
Intellect Ltd Article, available at http://eds.b.ebscohost.com/eds/pdfviewer/pdfviewer?sid=8eece711-ecb6-4be8-8dd6-532177b39322%40sessionmgr114&vid=2&hid=112 (accessed 17th October)
Purcell John (2010) The Booktopia Book Guru,
available at http://blog.booktopia.com.au/2010/07/20/shaun-tan-authorillustrator-of-the-arrival-answers-ten-terrifying-questions/ (accessed 17th October)
Snipe Lawrence R. (2008) Postmodern
Picturebooks, Routledge available at http://books.google.co.uk/books?id=6_KTAgAAQBAJ&pg=PA92&lpg=PA92&dq=dissemination+of+shaun+tan's+work&source=bl&ots=scEosDAF2g&sig=Xm6Ep737MkBhsjC6tVPHiW2RRJs&hl=en&sa=X&ei=jtpDVIfAMeLB7AaVuIFg&ved=0CDkQ6AEwBA#v=onepage&q=dissemination%20of%20shaun%20tan's%20work&f=false (accessed 19th October)
Tann Shaun, The Rabbits, available at http://www.shauntan.net/books/the-rabbits.html
(accessed 17th October 2014)
Victoria State library (2011), Shaun Tann do you
encourage open interpretation of your work? Available at https://www.youtube.com/watch?v=2Cb37WdbBgk&feature=youtube_gdata_player
(accessed 17th October)
Watkins Ross (2009), Word + Image: The pedagogical imperative of visual narrative, Margins and Mainstreams, available at http://d3n8a8pro7vhmx.cloudfront.net/theaawp/pages/84/attachments/original/1385080817/Watkins_0.pdf?1385080817 (accessed 17th October 2014)
Images
Image 1 -Barts Bookshelf available at http://i1.wp.com/www.bartsbookshelf.co.uk/bookshelf/wp-content/uploads/2011/05/The-Rabbits-c-Shaun-Tan.jpg?resize=600%2C469 (accessed 19th October)
Image 2 – Gene LuenYang (2007) Stranger in a
Strange Land available at http://www.nytimes.com/2007/11/11/books/review/Yang-t.html?_r=0 (accessed 19th October)
Footnotes
(1) Dophne
(2) Tann
(3) Victoria
(4) Snipe
(5) Watkins
fWeek 5 - Simone Lia Sype Interview - https://www.facebook.com/video.php?v=10154792772185457&set=o.195739160619445&type=2&theater - her website - http://www.simonelia.com/2014/10/
fWeek 5 - Simone Lia Sype Interview - https://www.facebook.com/video.php?v=10154792772185457&set=o.195739160619445&type=2&theater - her website - http://www.simonelia.com/2014/10/
Lia says "Late last year I begun a personal project called Bad Mother. I spoke to parents, grand parents, barristers working in the family courts, a social worker and an MP about what the media describes as forced adoption.
It’s a controversial and emotive subject and one that has not had too much attention in the media, for the protection of the children the process is shrouded in secrecy. My desire was that by using comic art I would be able to give all of those involved a voice by changing their identities in the drawing.
The project (an extract below shown as double page spreads reading left side then right side) was not fully completed – I began it and was happy with the work but felt that a longer piece would involve too many ‘talking heads’ that wouldn’t necessarily engage an audience. Here is one of the interviews." (from her website)
- her format is presented in a non traditional linear way!!
- shes up for experimenting and exploring even now as a practicing illustrator
Simone Lia
Lia has become a well know authorial illustrator since
producing her first successful graphic novel, “Fluffy”, in 2007. Her intuitive
artistic ways can be seen in this “kawai” book about a cute innocent bunny that
thinks her real father is a human, called Michael. The narrative explores
typical grown up issues everyone faces in life through Michael, whose career is
going nowhere, and who also has problems with his family, Fluffy’s nursery
teacher (who is stalking him) and the fact that his pet rabbit thinks it is his
child (1). Lia’s illustrations, which show real life and relationships very
objectively, allow the reader easily to relate to her work. “What I want to do
with my work is to be really, really honest and tell the truth in pictures” (2).
The main reason for Lia’s success is her ability to take
honest characteristics from humans and portray them in animals in a way which
sometimes surprises and shocks the reader. As a result the anthropomorphic
characters take on their own lives to lead the reader into the unexpected truth
of reality. (2)
(Image 1 The Illustrator Image Page)
Lia is influenced by real life events, conversations and
animals. For example, “Fluffy” was inspired by her boss’s son sitting on her
lap telling her she ‘smelt like daddy’.
Bad Mothers, a graphic novel about forced adoption (2013) was also
inspired by a personal experience. Lastly, when she travels, in particular by
bus, she picks up unexpected elements of conversations and uses these to
inspire her work. Also she is obsessed with different types of animals and
objects and dreams of animals talking to her, therefore Lia’s work is very
autobiographical (2).
Tom Gauld, a fellow illustrator, was a major support in kick
starting Lia’s illustrative career and introduced her to the idea of comics. In
collaboration with him and via Cabanon press she began self-publishing. She disseminates her work through galleries,
Tate Britain and Jealous Gallery (3) as well as in newspapers (The Independent,
The Guardian and The DFC) through comic strips with characters like the wilful
sausage, a carrot, a chip who does not talk, a bean and bunnies.
There are many philosophical points to Lia’s work. She
explores ideas about parenthood and childhood through the allegory of Fluffy.
As a humanist, Lia believes that ‘people can use empathy and compassion to make
the world a better place for everyone’ (4) and she takes into
consideration people’s everyday struggles.
One controversial aspect to her work is that there are
questions around Lia’s ability to draw expressions. Michael wears an anxious
expression most of the time in Fluffy and the people he meets are differentiated
by beards or reading glasses rather than facial expression, according to the Guardian’s
Carrie O’ Grady (1). Secondly, Lia’s autobiographical and personal response to
her subject matter means that not everyone can relate to it, therefore her book
“Please God Find Me a Husband” did not sell as well as “Fluffy” (5).
Lia uses a variety of techniques in her work including
presentation. Long shots, freeze frames, tense pauses and awkward pauses convey
meaning better than prose could. On the
other hand she utilises anthropomorphic methods to allow readers to project
their desires and anxieties into the characters. Scott Marsden says
“Anthropomorphism in comics has been manipulated in ways obvious and subtle to
make us question our assumptions of how we engage with our own humanity” (6). Lia also uses absurdity through
juxtaposition, humour and simplification. (Image 1 The Illustrator Image Page)
Bibliography Simone Lia
Gravett Paul, Interview with Simone Lia, available at http://theillustrator208.blogspot.co.uk/p/simone-lia-fluffy-trendy-rabbit-couple.html
(accessed 2nd November 2014)
Barton Laura (2007) Rabbiting On, available at http://www.theguardian.com/books/2007/feb/14/fiction.laurabarton
(accessed 2nd November 2014)
British Humanist Association (2014) available at https://humanism.org.uk (accessed 2nd
November)
Lia Simone, Jealous Gallery, available athttp://www.jealousgallery.com/artist.asp?ID=199&F=Top%20artist
(accessed 2nd November 2014)
Marsden Scott (2013), Graphixia avaible at http://www.graphixia.cssgn.org/2013/07/09/124-encounters-with-animals-revealing-our-humanity-through-anthropomorphic-comics/
(accessed 29th October 2014)
O’ Grady Carrie (2007) All Ears, The Guardian , available at
http://www.theguardian.com/books/2007/feb/10/featuresreviews.guardianreview18
(accessed 28th October 2014)
Rogers Emily, Simone Lia, Facebook, available at https://www.facebook.com/groups/195739160619445/
(accessed 2nd November 2014)
Shaw Andy (2008) Fluffy, Grovel, available at http://www.grovel.org.uk/fluffy/
(accessed 28th October 2014)
Tomaselli Susan (2007) Review: Fluffy, 3ammagazine, available
at http://www.3ammagazine.com/3am/review-fluffy/
(accessed 29th Ocotber 2014)
Images
Image one -Norocketscientist (2006), Fluffy:Simone Lia
available at http://brainvsbook.wordpress.com/2012/04/06/fluffy-simone-lia/
(accessed 3rd November 2014)
Footnotes
(1)
O’ Grady Carrie (2007)
(2)
Barton Laura (2007)
(3)
Lia Simone
(4)
British Humanist Association (2014)
(5)
Rogers Emily
(6)
Marsden Scott (2013)
Week 7 - we have just interviewed Nathan a concept artist who works for Warner brothers
Week 7 - we have just interviewed Nathan a concept artist who works for Warner brothers
- he turns perspective round and changes it
- drops in photographs and shapes an colours it.
- uses a syntic tablet- where you can draw onto the screen
- he wants to go into teaching and introduce concept art into an illustration course.
- he has become very quick at producing work, sometimes having an hour deadline
- he focuses on light, space and brush types.
Week 8 - concept art
- look at romanticism and find a concept artist you are interested in
- write about the roll of concepts
- reality/ virtual world
- Michael Angelo - Realism
- look into Gieger, disney, fashion design, Sid Meud and Krisi Salomen
 |
| Scott Watanabe - disney concept artist Kirsi Salonen
Kirsi Salonen is a Finnish digital painting artist and
fantasy/fiction writer who has won many awards. She and Alexander
Stevanov from Macedonia won an award “True Love” at the international comic
contest “Velves 2014”. Salonen was also given an award by the Comic Center of
Macedonia for her works including Ashes to Ashes and Riding Red
Ribbon. Currently she is working on her novel series Ordera
that is about to launch into full production this year.
Salonen’s works are dark and fantasy
based and have a semi realistic and classic illustration feel to them although
they are produced via digital genres. She aims to achieve and show a new
perspective on known and unknown subjects by using strong light and color schemes.
She depicts emotion through the use of colour and thus creates powerful
feelings and ideas, which work as a stage for her work. Another technique she
uses is to tell a narrative in one frame. This can be observed in her latest
work, Alpha, that shows duality of personification in renowned religious
figures (1).
By analyzing Salonen’s work a heavy
influence by the romantic artist Caspar David Friedrich can be clearly seen.
Salonen has said of Friedrich that “He sought the spirituality
through the contemplation of nature, extending the bounds of trees, mountains,
hills and crashing waves beyond just a beautiful view. They now had significant
spiritual meaning.” (2) It is clear that Salonen also
portrays spiritual meaning in her work by juxtaposition of natural figures and
objects and making it clear that they have significance beyond their physical
form.
Salonen is also influenced by
intellectual fantasy, for example Neil Gaiman’s productions Stardust and
Good Omens and his comic Sandman Saga. Movies that have an
emotional and original background, such as Dark Crystal, Fountain
and Ladyhawke, and the works of modern artist H. R. Giger, with his
“biomechanical” realistic imagery juxtaposed in tormenting ways, have inspired
the many subject matters and styles for which Salonen is constantly aiming. She
investigates controversy, nature, duality, aspects of humanity and the idea
that when you first look at the surface not everything is clear but if you look
carefully you can see the opposite of what is on the surface. (3)
Salonen disseminates her work by working
as a freelance artist creating various works such as cover art, illustrations,
card art, comics, commercial and graphic design and, most importantly, concept
art. (4)
Salonen used to be anti-religious whilst
growing up in her teenage years but now she is exploring religion through her
artwork. This is especially true of her work Alpha that shows hidden
meanings of personification in religious art. The title refers to the way
someone can represent both the beginning and the end of life because of the
forces they exude, which can be revitalized and reborn through pain. Through
symbolism and surrealistic style Salonen tries to portray herself through her
work as a “soul and message seeker” by encouraging people to look more deeply
into her work beyond the outward appearance of characters. (5)In Alpha
Salonen shows many religious symbols and emotional metaphors. Even though she
is not religious, she finds religions intriguing to learn about and
explore. On the upper right, Gabriel, the angel of death, stands with a
depressed expression and a scythe in his hands, whilst opposite him, the
archangel Samuel is standing as the angel of war. The middle angel is the most
controversial figure since he is everything that everyone wants and everyone
needs and lives for -“the first and last” - but he is shown to be heartless.
Directly underneath him, an individual falls alone leaving a cliffhanger to the
scene. (6) (Image one)
Kirsi Salonen Bibliography
Art of Kiri Salonen (2010) available at http://www.kirsisalonen.com/bio.htm accessed 4th December 2014
Artble (2014) available at http://www.artble.com/artists/caspar_david_friedrich accessed 4th December 2014
Its art mag, Interview with Kirsi Salonen available at
http://www.itsartmag.com/features/kirsisalonen/ accessed
4th December 2014
Uralistica (2014) Kirsi Salonen available at http://uralistica.com/group/art/forum/topics/v-stile-fentezi-finskij accessed
4th December 2014
Kirsi Salonen available at http://www.kirsisalonen.com/html_kuvat/alpha.htm accessed 4th December 2014
Kirsi Salonen available at http://www.kirsisalonen.com/html_kuvat/alpha.htm accessed 4th December 2014
Footnotes
(1)
Salonen
(2)
Artble
(3)
Its Art Mag
(4)
Uralistica
(5)
Salonen
(6)
Salonen
Images
Image One (see Theory Artist images Page)
Kirsi Salonen available at http://www.kirsisalonen.com/html_kuvat/alpha.htm accessed 4th December 2014
Steve Bell
Bell was born in London (1951) and studied at the Teeside College
of Art before moving to Leeds to study for a BA in Fine Art in 1974. He then went to Exeter University and
received a teaching certificate, after which he began teaching in Birmingham, a
job which he despised. He has always had
a passion for politics and therefore he became a freelance cartoonist. He was publicised in Whoopee, Cheeky, Jackpot,
City Limited and Punch. His breakthrough
came when his first comic strip, Maggie’s
Farm, was published in Time Out
Magazine. From this, his influential cartoons soon got recognised. He
started working for the Guardian in 1981 and has now been drawing for them for
30 years. (news bbc)
A main source for Bell’s work is his habit of shouting at
his radio. This then stimulates him to draw humorous satirical cartoons which
include the use of political vocabulary and juxtaposed surreal imagery. In
addition, the caricaturist Gillray (1756-1815) inspires Bell’s work because of the
confidence he showed in publishing his very political subject matter, to the
extent that Bell finds it astounding that people accepted his images at that
time. (1)
Bell disseminates his work via the newspapers and magazines
he has worked for over the years, including The Leveller and Private Eye,
although he got his big break from Time Out Magazine in London, which raised
his visibility. Bell produces his
excellent line work by using a John Heats telephone pen, brush and Indian ink.
He draws his cartoons to reproduction size and works on card or watercolour
paper. (2)
In February 2003, the “Stop the War” campaign against the
second Iraq war culminated in two million people demonstrating in London. Bell represented the reality of “shock and
awe” by drawing many grisly images. One
of the images he drew, showing a young boy dying, “a victim of explosion”, was
shunned by many papers. Bell wanted to show the truth about Tony Blair because
he had said he would protect the people but clearly was not doing so, as seen
in images that were emerging from Iraq but which were not widely published by
the press. Bell ethically and philosophically has a function and documentary
duty to his point and has to authenticate his point what actually happened. (4)
Bell cartoons have always tackled controversial and
difficult subjects. For example the
Falkland War, 1982 April, Guardian editor Peter Preston refused one of Bells
“if” strips on grounds of taster and another disagreement over strips showing
the Ayatollah and the Pope. (3)
(Image one look at theory
artist page)
Bells uses a lot of techniques but to name a few he always
over exaggerates certain features depending on the characters personality and
repeats motifs or characters over the years. Blair’s eye became one of the
cartoonist motifs from spotting a psychotic glint in one of the prime ministers
eyes and secondly Bells famous penguin that he has repeated in his work over
the years.
(Image Two look at theory artist page)
Bells working methods include scribbling ideas in a book
numbered and dated. To continue he uses a random artistic flow that appears to
him to never be finished. To do this, he explores for references through
pictures or anything that will stimulate him. Random quotes from political
verbiage inspire him with the next satirical cartoon.
Overall he uses surrealism, connects objects and characters
and carefully utilises speech bubbles to create a humorous image.
BBC (2007) Steve Bell A Life of Cartoons, available at http://news.bbc.co.uk/1/hi/programmes/politics_show/6437053.stm
accessed 1st December 2014
University of York (2011) Interview with Steve Bell ,
available at http://www.york.ac.uk/news-and-events/features/steve-bell-interview/
accessed 1st December 2014
Marni California (2011) Steve Bell
biography available at http://www.cartoons.ac.uk/artists/stevebell/biography accessed 1st December 2014
Steve bell and Alex Heasley, the Guardian, Steve bell on the
Iraq War, 10 years ago available at http://www.theguardian.com/world/video/2013/mar/15/steve-bell-iraq-war-video
accessed 1st December 2014
Images
Image one
Photobucket (2014) Blairs “Eye” available at http://s114.photobucket.com/user/craigb_03/media/SteveBell_EyeToEye.jpg.html
accessed 4 December 2014
Image two
The Guardian (2013) Steve Bell's If … the penguins'
tribute to Margaret Thatcherhttp available at ://www.theguardian.com/commentisfree/cartoon/2013/apr/15/steve-bell-if-penguins-margaret-thatcher
accessed 4 December 2014
Footnotes
(1) BBC
(2) University
of York
(3) California
(4) Bell
|
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